Wednesday, February 15, 2017

When Satire Fails

When Peter Cook founded the "Establishment Club" - a revue bar featuring satirical humour - in London in 1968 he expressed the hope that the venue wd be "just as successful as those satirical cabarets in Berlin in the 1930s that did so much to prevent the rise of Hitler." Satire often doesn't work. The more biting and clever the satire the less effective it often is. I remember reading the reviews of Paul Verhoeven's Starship Troopers with incredulity: respected critics didn't get that it was a satire on Leni Riefenstahl. Indeed it seems that a majority of the critics at the time didn't understand that the film was an allegory about the growth of fascism. A fortiori cinema goers - many of whom seem to have rejected the director and screenwriter's intent and imposed their own meaning on the film. In their eyes Starship Troopers was not a satire on xenophobia and fascism at all but a warning about foreigners/aliens and a trumpet blast against weak liberals who can't be trusted to keep us safe. ...Not only does satire often fail but sometimes it does the very opposite of what it is meant to be doing. For those of you who think SNL is skewering the Trump administration, I have some news for you, I bet you, in fact, it's actually bolstering the views of Trump's supporters and fans. Malcolm Gladwell in a great podcast on satire shows how SNL's piss take of Sarah Palin actually helped Sarah Palin. Similarly the famous puppet show Spitting Imagine that supposedly mercilessly mocked Mrs Thatcher was actually a boon for Mrs Thatcher's image and reputation. And there are numerous other examples. (Listen to the Gladwell. He gets on my nerves too but he's great here.) My point is that if respected critics can't see the joke don't be surprised if a supposed 'low information' voter doesn't see the joke either. [Its rarer of course that really bad art gets thought of as 'satire' when it isn't but I assume that the occasional Springtime For Hitler situation does exist in real life too.] I wonder too if there are any anti-war satires that actually work at all? Apocalypse Now and Full Metal Jacket - supposedly blistering anti-war bromides were in fact favourite films of soldiers and marines in the Iraq war......Anyway here's RedLetterMedia's recent review (below) of Starship Troopers where they point out what should have been obvious. Two of their more interesting observations are about the lighting (deliberately bland) and the casting (the leads were cast because they appeared to be 'dead behind the eyes'.) None of this, however, has stopped Starship Troopers from becoming a favourite film of skinheads and the Alt Right. Perhaps the critics weren't so naive after all....

About Me

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I was born and grew up in Carrickfergus, Northern Ireland. After studying philosophy at Oxford University I emigrated to New York City where I lived in Harlem for seven years working in bars, bookstores, building sites and finally the basement stacks of the Columbia University Medical School Library in Washington Heights. In 2000 I moved to Denver, Colorado where I taught high school English and started writing fiction in earnest. My first full length novel Dead I Well May Be was shortlisted for the 2004 Ian Fleming Steel Dagger Award and was picked by Booklist as one of the 10 best crime novels of the year. In 2008 I moved to St. Kilda, Melbourne, Australia with my wife and kids and started writing full time.

I'm probably best known for my Sean Duffy books. The first Sean Duffy novel, The Cold Cold Ground, won the 2013 Spinetingler Award and was picked as one of the best crime novels of the year by The Times.

The second Sean Duffy novel, I Hear The Sirens In The Street, won the 2014 Barry Award.

In The Morning I'll Be Gone (Sean Duffy #3) won the 2014 Ned Kelly Award.

Gun Street Girl (Duffy #4) was shortlisted for the 2016 Edgar Award, the 2015 Ned Kelly Award, The 2016 Anthony Award and was picked as one of the best books of 2015 by The Boston Globe and by The Irish Times.

All Hail McKinty!

"If Raymond Chandler had grown up in Northern Ireland he would have written The Cold Cold Ground."

---The Times

"Hardboiled charm, evocative dialogue, an acute sense of place and a sardonic sense of humour make McKinty one of our greatest crime fiction writers."

---The Guardian

"A literary thriller that is as concerned with exploring the poisonously claustrophobic demi-monde of Northern Ireland during the Troubles, and the self-sabotaging contradictions of its place and time, as it is with providing the genre’s conventional thrills and spills. The result is a masterpiece of Troubles crime fiction: had David Peace, Eoin McNamee and Brian Moore sat down to brew up the great Troubles novel, they would have been very pleased indeed to have written The Cold Cold Ground."

---The Irish Times

"McKinty is a gifted man with poetry coursing through his veins and thrilling writing dripping from his fingertips."

---The Sunday Independent

"Adrian McKinty is fast gaining a reputation as the finest of the new generation of Irish crime writers, and it's easy to see why on the evidence of The Cold Cold Ground."

---The Glasgow Herald

"McKinty is a storyteller with the kind of style and panache that blur the line between genre and mainstream."

---Kirkus Reviews

"McKinty's literate expertly crafted crime novel confirms his place as one of his generation's leading talents."

---Publishers Weekly

"McKinty crackles with raw talent. His dialogue is superb, his characters rich and his plotting tight and seemless. He writes with a wonderful and wonderfully humorous flair for language raising his work above most crime genre offerings and bumping it right up against literature."

---The San Francisco Chronicle

"The first of McKinty's Forsythe novels, "Dead I Well May Be," was intense, focused and entirely brilliant. This one is looser-limbed, funnier...so, I imagine, is the middle book, "The Dead Yard," which I haven't read but which Publishers Weekly included on its list of the 12 best novels of 2006, along with works by Peter Abrahams, Richard Ford, Cormac McCarthy and George Pelecanos."

---The Washington Post

"McKinty, who grew up in Northern Ireland, has an ear for language and a taste for violence, and he serves up a terrifically gory, swiftly paced thriller."

---The Miami Herald

"There's nothing like an Irish tough guy. And we're not talking about Gentleman Gerry Cooney here. No, we mean the new breed of bare-knuckle Irish writers like Adrian McKinty, Ken Bruen and John Connolly who are bringing fresh life to the crime fiction genre."

---The Philadelphia Inquirer

"McKinty's writing is dark and witty with gritty realism, spot on dialogue, and fascinating characters."

---The Chicago Sun-Times

"If you like your noir staples such as beautiful women, betrayal, murder, mixed with a heavy dose of blood, crunched bones, body parts flying around served up with some throwaway humour, you need look no further, McKinty delivers all of this with the added bonus that the writing is pitch perfect."

"This is a terrific read. McKinty gives us a strong non stop story with attractive characters and fine writing."

---The Morning Star

"[McKinty] draws us close and relates a fantastic tale of murder and revenge in low, wry tones, as if from the next barstool...he drops out of conversational mode to throw in a few breathtaking fever-dream sequences for flavor. And then he springs an ending so right and satisfying it leaves us numb with delight and ready to pop for another round. Start the cliche machine: This is a profoundly satisfying book from a major new talent and one of the best crime fiction debuts of the year."

---Booklist

"The story is soaked in the holy trinity of the noir thriller: betrayal, money and murder, but seen through with a panache and political awareness that give McKinty a keen edge over his rivals."

---The Big Issue

"A darkly humorous cross between a hard-boiled mystery and a Beat novel."

---The St. Louis Post-Dispatch

"A roller coaster of highs and lows, light humour and dark deeds, the powerful undercurrent of McKinty's talent will swiftly drag you away. Let's hope the author does not slow down anytime soon."

---The Irish Examiner

"A virtual carnival of slaughter."

---The Wall Street Journal

"McKinty has once again harnassed the power of poetry, violence, lust and revenge to forge another terrific novel."

"McKinty writes with the soul of a poet; his prose dances off the pages with Old World grace and haunting intensity. It's crime fiction on the level of Michael Connolly with the conviction of James Hall."

---The Jackson Clarion-Ledger

"The Bloomsday Dead is the explosive final installment in a trilogy of kinetic thrillers."

---The New York Times

"McKinty's Dead Trilogy has been praised by critics, who call it "intense," "masterful" and "loaded with action." If your reading pleasure leans toward thrillers offering suspense, close calls, wry wit, sharp dialogue, local color and sudden mayhem, you wont do better."